To stay grounded—metaphysically speaking, that is—while playing, White always removes his shoes. While it helps with pedal control, there are indeed some negative effects: “If you play a smaller place with grounding issues, you get electrocuted that much more if you’re not wearing shoes.”
“I get nervous if I have my shoes on when I am playing,” says Andy White, the guitar half of the psychedelic, krautrock-style, jam-centric duo Tonstartssbandht [pronounced: tone-starts-band]. “For some reason, playing with shoes on just feels weird.”
How weird? That’s hard to say, but playing barefoot has helped the guitarist figure out a few tricks and use it to his advantage. “I want to be able to know I have the option to do what I need to do on the fly or, at the very least, feel myself grounded,” he adds. “It all comes down to pedals at the end of the day. Even if it’s not tweaking them, but just activating them, or turning them off.”
A duality—part mystical, part practical—describes White’s musical ethos as well as the history and evolution of Tonstartssbandht, which he founded in 2008 with his older brother and drummer, Edwin. The duo’s most recent release, Petunia, marked a new phase in their development, as they eschewed fuzz and lo-fi sonics in favor of cleaner tones. Despite capturing live instrumental takes, the album is very much a studio creation. The brothers took advantage of the downtime afforded by Covid—holed up together in their hometown of Orlando—and experimented with gear, holding out for perfect takes, and even built an iso booth.
“It definitely felt alien,” White says. “It was very weird, and I’ve second-guessed myself a lot of the time. ‘Should it be taking this long? Should it sound so high fidelity? Are people going to hate us or think we sold out?’”
Tonstartssbandht - Pass Away (Official Video)
Relative to the rest of their work, Petunia sounds like it was captured with Steely Dan-like precision. Their previous effort, Sorcerer, was recorded under completely different circumstances that illustrate the brothers’ ability to embrace serendipity and circumstance. “Sorcerer was recorded at our old place, when Ed and I were both living in Brooklyn in a big, shared living and art space called Le Wallet, in Bushwick,” White says. “If you could build a vocal booth within a vocal booth, you would not be able to escape the noise, because the building was surrounded on three sides by the elevated M train. I didn’t mind sleeping there, but you would not be able to get a quiet take unless you timed it perfectly for when the M wasn’t running for five minutes or so. We knew we were working with the ambient noise of a train going by, or a roommate making dinner across the room who wants to shout or something. There was no avoiding that.”
The much more delicate sound of Petunia is a fresh entry to the band’s discography. The album opens with “Pass Away,” a dreamy, spacious, falsetto-laden jam that grows and grows, and yet never forgets it’s supposed to groove. White layers chord extensions over an ostinato bass figure that’s played with his thumb and—check it out—isn’t overdubbed. In fact, none of the guitar parts are. Even the hypnotic, uneven delays that complement the melodic, upper register double-stops on “What Has Happened” were recorded as one complete take. White was able to create a rich, detailed sonic image by carefully dialing in his amps, plus mixing.
“I’ve second-guessed myself a lot of the time. ‘Should it be taking this long? Should it sound so high fidelity? Are people going to hate us or think we sold out?’”
“I have trouble sometimes,” he says. “If I set up mics in a room and I think, ‘This sounds nice and heavy for a two-man band,’ when I listen back to the recording, I can be disappointed because it doesn’t quite capture how heavy it sounded. If I am left to my own devices to mix—like we were on our previous albums—it’s just a lot of trial and error with EQ in post. With Petunia, we had all the carefully recorded takes to work with, and that’s why we brought it to other people to mix. It took us long enough to figure out how to record it how we wanted to, and we didn’t want to fuck up what we worked on so hard by trying to mix it ourselves.” That also paid off by showcasing the haunting qualities within White’s voice, which spins warm melodies and charms in airy falsetto for most of the album, but can drop into a growling attack when it’s time to bare teeth.
White uses two solid-state Lab Series amps—he has both the L5 and L6 models—which he finds break up to his liking and cover a broad tonal range. The Lab Series is from Gibson’s Norlin era, the 1970 to 1986 period when the company was producing some of its wackiest products, including offbeat guitars like the Marauder and Corvus, and solid-state amps that featured, for the time, cutting-edge electronics designed by sister Norlin company Moog. You don’t see Lab Series amps around that often, and for White, they’re perfect. “Some guitar guys tell me they have a tube sound without the finicky-ness of tubes, and I’ve always found them to be very reliable. I try to get a nice boost-y heavy bass from the amps, and when it comes to recording it, it’s luck and trial and error.”
The brothers White: Edwin (left), drums, and Andy (right), guitar.
White runs the two amps simultaneously and bounces his signal between both—not a dry signal in one amp and wet in the other—creating a ping-pong effect and fattening the sound. You can hear that in action on Petunia, especially on songs like “All of My Children” and the aforementioned “What Has Happened,” where he also leans heavily on an Electro-Harmonix Super Pulsar.
“It uses a quarter-note tremolo really hard—like a strobe—and then one repeat 100 percent wet and dry delay on the dotted quarter,” White says. “I used to dial that in on the fly on a live show and it would take forever to get it exactly right tuning the tremolo ratio and getting the delay to hit it just at the right swing. Now I just adjust the Super Pulsar and tune it to make it exactly how I like, and then save it as a preset.”
Andy White's Gear
Seen here at Brooklyn’s Market Hotel, Andy White splits his Strat’s signal into two vintage Gibson Lab Series amps to achieve maximum tone density and psyched-out ping-pong effects.
Photo by Tod Seelie
Guitars
- Danelectro 12-SDC
- Early ’70s Gibson SG with Bigsby
- Fender American Elite Stratocaster
Amps
- Lab Series L5 2x12
- Lab Series L6 1x15 bass combo
Strings
- Ernie Ball Power Slinky (.011–.048, for 6-strings)
- Ernie Ball (.010 sets, for 12-string)
Effects
Boss TU-3 Chromatic Tuner
Boss GE-7 Graphic Equalizer
Boss OC-3 Super Octave
Electro-Harmonix Little Big Muff
Electro-Harmonix Super Pulsar
Electro-Harmonix Stereo Memory Man with Hazarai
DigiTech X-Series DigiDelay
Boss RV-6 Reverb
TC Helicon VoiceTone Create (for vocals only)
White’s recently developed pragmatic approach to gear applies to his guitars as well. He relies on three: an SG and a Danelectro 12-string that are tuned to D standard, plus a Strat tuned to a hybrid C# tuning of his own invention (C#–G#–C#–F#–G#–B), with its bridge stopped up with cork to disable the tremolo.
“I went to the local guitar guy in Orlando and had him set up my guitar in that C# tuning,” he says. “I can’t believe that I am 32 and I just figured out that may be a smart thing to do. It was very rewarding. I took three guitars on the road. I just couldn’t be bothered spending so much time tuning and retuning on stage, and it paid off. I think my brother really appreciated not sitting on the drums whistling to himself while I tuned in the middle of a live show.”
The guitarist fingerpicks with a raw style, using just his thumb and index finger, with his other fingers anchored to the pickguard. He plays with the flesh, or pads, of his fingers and doesn’t use his nails or fingerpicks.
TIDBIT: The White brothers made the best of the dearth of gigs incurred by the pandemic and took their time recording Petunia, creating the most high-fidelity and detailed recording in the band’s extensive discography
“I got into fingerpicking on an old nylon-string that was my first guitar,” he says. “I don’t remember a specific moment when I was like, ‘This is what I am going to do now,’ but I do remember that playing guitar for me was about using a pick—playing power chords or big open chords—and then one day I tried playing around with fingerpicking and realized I could use my thumb and index finger and that it wasn’t that hard. I started writing and fingerpicking as much as I could, and then I got into John Fahey and Davey Graham and that kind of British folk and blues fingerpicking. A few years later, when I was playing with my brother in Tonstartssbandht—our music, at first, was like noise and drone and vocal-looping based. Slowly but surely, and maybe it had to do with being able to express myself with tuning the amps correctly or finding the right guitar, fingerpicking became something we could comfortably do together. He could rip on the drums and I could fingerpick, and it wouldn’t sound too much like a hot mess. It was cohesive.”
Cohesion aptly describes the duo’s improvisations. They don’t jam in the soloist/accompaniment sense, but rather more in the group-focused style of ’70s-era krautrock bands like Can and Popol Vuh. “There are only two of us,” White says. “If only one of us is soloing, it’s going to sound pretty fucked up. We do our best to sound like a full band. If I am not playing chords and singing, I want to play leads like Michael Karoli. That feels funny—saying that Michael Karoli is my favorite guitarist—because you don’t listen to Can records for the guitars; you listen for the whole sound.”
“If only one of us is soloing, it’s going to sound pretty fucked up. We do our best to sound like a full band.”
Similarly, thanks to their combination of a practical, work-centric focus and just letting things happen, you listen to Tonstartssbandht for the whole sound. But the comparisons end there, because the members of Can, for the most part, usually wore shoes—you knew that was coming back—which, as White said, isn’t his M.O. He prefers the spiritual high and knob-twisting practicality of keeping his shoes off even if that does have its share of problems.
“It has come back to bite me,” he says. “If you play a smaller place with grounding issues, you get electrocuted that much more if you’re not wearing shoes. My dad has told me in the past, ‘Before you go on the road, go to Home Depot and get an insulated rubber mat to stand on in case you’re playing a place that has bad electricity. But as one is wont to do with their father, I hear his advice and think, ‘Shut up dad! That’s a stupid idea.’ But it’s actually quite a good idea. I should probably do it someday.”
“Falloff” by TONSTARTSSBANDHT live at Market Hotel, Brooklyn, NY, October 28, 2021
Witness the full effect of Andy White’s fingerpicked stereo sound in this vibe-y take of “Falloff,” from 2021’s Petunia.
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Killswitch Engage are, from left to right, Justin Foley on drums, guitarist Adam Dutkiewicz, vocalist Jesse Leach, bassist Mike D’Antonio, and guitarist Joel Stroetzel.
As a result, Killswitch Engage’s ninth full-length LP, This Consequence, has all the hallmarks of a band meeting its moment. It’s been nearly a quarter-century since they released their eponymous debut, and they’ve subsequently achieved a career-sustaining amount of success as one of the main architects of the metalcore genre, but This Consequence is likely their first album to highlight such a clearly articulated, socially conscious through line.
Lyrically, cause-and-effect is a driving theme on This Consequence, and Killswitch Engage (KSE) captures the zeitgeist of the 2020s with incisive, often cautionary, commentary regarding topics like war, hatred, division, and falling in line. Musically, the band has channeled those same sources of inspiration into performances that feel more urgent, and thus more sincere, creating a viscerally brutal yet brilliantly melodic slab of postmodern metalcore. KSE has long held a reputation for having a good time and riling up crowds with uncontainable energy and unpredictable performances, but it’s been hard to ignore the degradation of discourse in this country over the last decade, even for these renowned ringmasters.
KSE was formed in 1999 in Westfield, Massachusetts, from the remnants of Overcast and Aftershock, two prominent local metal bands. KSE’s early lineup featured founding members Dutkiewicz on drums and Mike D’Antonio on bass, along with vocalist Jesse Leach and guitarist Joel Stroetzel. The fledgling band quickly gained attention for its mix of melodic and death-metal influences: a musical amalgamation that would become the template for metalcore. The band’s second album, 2002’s Alive or Just Breathing, was pivotal, marking a major shift in their sound and identity, with a dual-guitar attack leading the charge. In order to accurately render that album in concert, Dutkiewicz switched to guitar, and they brought in Tom Gomes on drums. The record includes some of the band’s most iconic songs to date, including, “My Last Serenade,” “Fixation on the Darkness,” and “The Element of One.” Adopting a two-guitar approach was a masterstroke and Alive or Just Breathing has since become one of metalcore’s most definitive albums, blending deft, tightly synchronized guitar riffs with battering rhythms, guttural verses, melodic choruses, and a hardcore punk attitude. It was a winning formula that enabled KSE to build a huge fan base.
“Everything I bring to the table, I tell them, ‘We can throw it away.’”–Adam Dutkiewicz
In 2004, they released The End of Heartache, their first to feature Howard Jones on lead vocals and Justin Foley on drums. The album reached No. 21 on the Billboard200 and earned a Best Metal Performance Grammy nomination for the title track. Songs like “When Darkness Falls” and “Rose of Sharyn” continued to elevate KSE’s status within the metalcore hierarchy. In 2009, Jones left and Leach returned. Disarm the Descent was released in 2013 and debuted at No. 7 on the Billboard200, marking the band’s highest charting debut to that point. Incarnate followed in 2016, and then Atonement, their first release on Metal Blade, in 2019. KSE was on a roll with Leach firmly back in the fold, and ready to tour when the pandemic struck. During the downtime, inspiration hit, so they regrouped, wrote, rehearsed, and eventually recorded This Consequence. Songs like “Aftermath,” “Abandon Us,” and “Broken Glass” exemplify the kind of relatable cultural commentary that can be cathartic for today’s disenfranchised—especially when paired with the band’s other equally memorable musical attributes.
In riffs they trust: Killswitch Engage’s Adam Dutkiewicz (left) and Mike Stroetzel prefer strong, arranged guitar parts that create scenes within arrangements, rather than flash shredding.
Photo by Mike White
The writing and rehearsal process for This Consequence was the first time since Alive or Just Breathing that all five members convened in a studio to work out the material before recording. Like many artists nowadays, KSE had been writing and recording remotely for at least the last decade. Stroetzel says it was great to be able to work on the tunes together, in the same room, and that, musically, it allowed the arrangements to come together a little bit faster. “Especially the songs that were only partially finished,” chimes in Dutkiewicz. In addition to his role on guitar, Dutkiewicz has been the band’s producer—his major at Berklee—almost since inception. Perhaps having a skill set with that kind of overview is why he’s also the only member of the group to craft fully fleshed-out songs on his own. And yet, even he recognizes how his material benefitted from their rehearsal process this time. “It was really good for everybody in the band to get their hands on their instruments, learn the riffs, and then tweak them to their level of comfort,” he says. “They’re more invested in the song that way because their voice and their sound is on it. And when we play the song live, it’s more their song, instead of that song that Adam wrote.”
“A tight staccato section needs a wide, harmonically rich section to complement it. We try our best to have scenes in a song like that.”–Adam Dutkiewicz
The cultural continuity of the lyrics on This Consequence didn’t just come about by happenstance, either. It’s not a concept album per se, but the band encouraged Leach to continually refine his lyrics and elevate his ideas and topics. “When you’re writing lyrics for that many songs at once, it’s easy to fall into the tendency of writing about the same topics, with the same vibe,” says Dutkiewicz. “He just needed to try something completely different.” As a result, Leach tapped into his own angst about the current state of world affairs, bestowing upon This Consequence the kind of social relevance that previous KSE albums never quite captured so succinctly. “Jesse gets the gold star for trying the hardest,” commends Dutkiewicz.
Per usual, Adam Dutkiewicz served as producer for the new album, but engineer Mark Lewis at MRL Studios in Nashville, Tennessee, played a significant role in determining its final sonic character.
Dutkiewicz isn’t particularly attached to his own musical ideas or songs and admits he’s willing to deconstruct just about anything for the good of the group, even after he’s submitted a complete demo to the rest of the guys. “Everything I bring to the table, I tell them, ‘We can throw it away.’ I think a big part of being an artist is just the creation of things and sometimes the destruction of things.” Dutkiewicz’s willingness to analyze material from that perspective is part of what makes him such a good de facto producer for the band. “It’s just not having an ego about anything,” he says. “You always have to remember you have to do what’s best for the song and not for my riff.” Another theme that runs through KSE songs on This Consequence, and in general, is how their arrangements work. They employ a visual, almost cinematic approach to production and songcraft. “It’s almost like you want scenes in a song,” explains Dutkiewicz. “A tight staccato section needs a wide, harmonically rich section to complement it. We try our best to have scenes in a song like that.”
“We play together a little behind the beat now. Before, we were fighting each other a little bit.”—Joel Stroetzel
Dutkiewicz and Stroetzel have been playing guitar together since long before the release of Alive or Just Breathing, mostly because the former has always worn multiple hats within the band, and share many of the same influences, including Megadeth, Slayer, Testament, Sepultura, and especially Metallica. They both credit James Hetfield for setting the bar when it comes to their own obsession with fast, articulate rhythm-guitar playing. As Stroetzel got older he gravitated towards classic rock, especially Jimi Hendrix and Led Zeppelin. “Now I can play things other than metal,” he jokes. Dutkiewicz, on the other hand, got into the classic stuff at a younger age, citing his early infatuation with Eddie Van Halen and Angus Young. “It’s more so Angus Young’s spirit and onstage attitude,” he clarifies. Dutkiewicz’s high-energy stage presence validates that sentiment.
Adam Dutkiewicz’s Gear
Adam Dutkiewicz, telegraphing his love of suds, onstage at Los Angeles’ Wiltern Theatre in February 2022, playing his Caparison TAT Special FX “Metal Machine” with Fishman Fluence Signature Series Killswitch Engage Pickups.
Photo by Debi Del Grande
Guitars
- Caparison TAT Special FX “Metal Machine” with Fishman Fluence Signature Series Killswitch Engage Pickups
Amps
- Kemper Profiler
- Kemper Stage
- Mesa/Boogie 4x12 cabs with Celestion speakers
Effects
- Electro-Harmonix Magnum 44 Power Amp
- Maxon OD808 Overdrive
Strings, Picks, Microphones, &
Accessories
- D’Addario EXL115 XL Nickel Wound (.011– .049)
- In-Tune XJ Jazz 1.14 mm
- Shure ULXD and GLXD wireless systems
- sE V7 Dynamic Microphones
- D’Addario Planet Waves cables
Stroetzel confesses that it took some time to develop into the symbiotic guitar tandem that’s become a signature musical element of the KSE sound. “We play together a little behind the beat now,” he explains. “Before, we were fighting each other a little bit. I always thought Adam had a very forward style with his picking, but he’s mellowed over the years. I had to pick up the pace a little, Adam relaxed a little bit, and I think we found a happy midpoint. It only took 25 years [laughter].” Part of the challenge has been adapting to how the other person writes. “I struggle with some of Joel’s articulate phrasing sections,” explains Dutkiewicz. “I’m just a big mangler and he’s got these well-phrased sections. And I’m just like, ‘God, ah.’ He plays a lot more guitar than me, so his string skipping and pick phrasing is way beyond what I’m capable of doing.” Stroetzel says he struggles with some of Dutkiewicz’s chord voicings because he has such big hands. “Some of these chords he can reach, I’m like, ‘Man, how do you even do that?’”
“Just hearing the Kemper for the first time, and what it could actually do, was pretty impressive, especially for high-gain tone.”—Joel Stroetzel
Surprisingly, however, they don’t actually even take guitar solos in the traditional sense. “We’re not necessarily looking to throw leads on everything,” admits Dutkiewicz. “To us, it’s just a musical interlude. You can’t have vocals [constantly] for three minutes and 30 seconds, so it’s just a quick little side journey in the song.” One of the closest things to an actual guitar solo is probably on the opening track “Abandon Us,” right after the first chorus, which features the nimble-fingered fretwork of Dutkiewicz, but even that’s more like a short detour than a bona fide lead break. Instead, they tend to incorporate a lot of Thin Lizzy/Iron Maiden-style harmony parts and deploy single-note phrases, counter melodies, and sub-hooks to the vocals in bridges and choruses, weaving a layered tapestry of melodic ear candy. Songwriting is ultimately their primary focus, and the songs are relatively short and to the point for a metal band, so there doesn’t seem to be a need to clutter things up with unnecessary solos. When it comes to crafting such parts, the general rule of thumb for assigning these melodious forays is whoever writes the song, or initiates the song idea, does the honors. And so, songs like “Discordant Nation,” “I Believe,” and “Requiem” highlight Stroetzel’s nuanced lyrical phrases, while “Abandon Us” and “Where It Dies” feature Dutkiewicz’s more shred-like soloing style.
When it comes to tone, Stroetzel in particular remains a big fan of tube amps, and the band has a long history of utilizing heads from boutique manufacturers like Diezel, Framus, and Friedman. In recent years, however, software sounds have gotten much better, and they’ve gravitated towards profiling amps and plugins, especially live. “Just hearing the Kemper for the first time, and what it could actually do, was pretty impressive, especially for high-gain tone,” explains Stroetzel. “If you want an aggressive metal tone, I think the Kemper does a nice job capturing that, and it works great live—we’re consistent from night to night.” And besides, they both openly admit it’s not like KSE requires a lot of nuanced technique. “We don’t have very delicate parts in our songs,” jokes Dutkiewicz. “Even our clean tones aren’t very touch sensitive.”
Joel Stroetzel's Gear
Joel Stroetzel, here, and Adam Dutkiewicz both play signature-model Caparison guitars. Stroetzel’s is a Dellinger-JSM V2.
Photo by Debi Del Grande
Guitars
- Caparison Dellinger-JSM V2 with Fishman Fluence Signature Series Killswitch Engage Pickups
Amps
- Kemper Profiler
- Kemper Stage
- Mesa/Boogie 4x12 cabs with Celestion speakers
Effects
- Electro-Harmonix Magnum 44 Power Amp
- Maxon OD808 Overdrive
Strings, Picks, Microphones, &
Accessories
- D’Addario EXL115 XL Nickel Wound (.011–.049)
- D’Addario Duralin Black Ice 1.10 mm
- Shure ULXD and GLXD wireless systems
- sE V7 Dynamic Microphones
- D’Addario Planet Waves cables
Dutkiewicz says that what listeners end up hearing, tone-wise, is ultimately up to whoever mixes the album, which, in the case of This Consequence, was Mark Lewis at MRL Studios in Nashville, Tennessee. Aside from that, everything else is very cut-and-dried. Stroetzel says there’s always a Maxon OD808 on everything they do that’s dirty. “Throw a little bit of that boost in there, and it just kind of compresses the tone a little bit and brings out the midrange a little more,” he explains. “And then, all we really need is a noise gate. That’s it.” They both play Caparison signature model guitars, incorporating elements of other instruments they’ve played over the years. “I’ve always liked Fender-style guitars—Strats and Teles,” says Stroetzel. “So, my signature model is constructed with those in mind, but to sound a little bit thicker and have some thunder in the low end, like a hot-rod metal guitar.” Dutkiewicz says his guitar was designed with simplicity in mind. “I was ruining guitars on tour,” he admits. “I had a bolt-on once, and my sweat got into the bolt holes and it actually rotted out. I couldn’t believe it. Sweat was getting in the cavity of the guitar, and it was cutting out the pickups and causing corrosion on the electronics inside. So, I got rid of the neck pickup and made it a neck-through. I’m a mangler, so it’s loud, bright, and obnoxious, just like me [laughter].”
As for their revered place in the pantheon of metalcore, Stroetzel takes the humble approach, as many in his position often do, saying they’re not really concerned with putting a label on KSE. “We all just try to put in elements of what we like,” he says. “Everybody in the band has listened to so many different types of music over the years. It’s like, ‘Who cares if this is a hardcore song or a thrash song?’ It doesn’t really matter. I don’t think we’ve ever tried to stick to a specific style. We’re just a rock band.”
YouTube It
In this full-set performance from 2023’s Wacken Open Air festival in Itzehoe, Germany, Killswitch Engage dances the line between beauty and brutality.
The National New Yorker lived at the forefront of the emerging electric guitar industry, and in Memphis Minnie’s hands, it came alive.
(Are you not totally intrigued by the story of this incredible woman? Why did she run away from home? Why did she fall in love with the guitar? We haven’t even touched on how remarkable her songwriting is. This is a singular pioneer of guitar history, and we beseech you to read Woman with Guitar: Memphis Minnie’s Blues by Beth and Paul Garon.)
Following the end of World War I, Hawaiian music enjoyed a rapid rise in popularity. On their travels around the U.S., musicians like Sol Ho’opi’i became fans of Louis Armstrong and the New Orleans Rhythm Kings, leading to a great cross-pollination of Hawaiian music with jazz and blues. This potent combination proved popular and drew ever-larger audiences, which created a significant problem: How on earth would an audience of thousands hear the sound from a wimpy little acoustic guitar?
This art deco pickguard offers just a bit of pizzazz to an otherwise demure instrument.
In the late 1920s, George Beauchamp, John and Rudy Dopyera, Adolph Rickenbacker, and John Dopyera’s nephew Paul Barth endeavored to answer that question with a mechanically amplified guitar. Working together under Beauchamp and John Dopyera’s National String Instrument Corporation, they designed the first resonator guitar, which, like a Victrola, used a cone-shaped resonator built into the guitar to amplify the sound. It was definitely louder, but not quite loud enough—especially for the Hawaiian slide musicians. With the guitars laid on their laps, much of the sound projected straight up at the ceiling instead of toward the audience.
Barth and Beauchamp tackled this problem in the 1930s by designing a magnetic pickup, and Rickenbacker installed it in the first commercially successful electric instrument: a lap-steel guitar known affectionately as the “Frying Pan” due to its distinctive shape. Suddenly, any stringed instrument could be as loud as your amplifier allowed, setting off a flurry of innovation. Electric guitars were born!
“At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.”
By this time, Memphis Minnie was a bona fide star. She recorded for Columbia, Vocalion, and Decca Records. Her song “Bumble Bee,” featuring her driving guitar technique, became hugely popular and earned her a new nickname: the Queen of Country Blues. She was officially royalty, and her subjects needed to hear her game-changing playing. This is where she crossed paths with our old pals over at National.
National and other companies began adding pickups to so-called Spanish guitars, which they naturally called “Electric Spanish.” (This term was famously abbreviated ES by the Gibson Guitar Corporation and used as a prefix on a wide variety of models.) In 1935, National made its first Electric Spanish guitar, renamed the New Yorker three years later. By today’s standards, it’s modestly appointed. At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.
There’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but that just goes to show how well-loved this guitar has been.
Memphis Minnie had finally found an axe fit for a Queen. She was among the first blues guitarists to go electric, and the New Yorker fueled her already-upward trajectory. She recorded over 200 songs in her 25-year career, cementing her and the National New Yorker’s place in musical history.
Our National New Yorker was made in 1939 and shows perfect play wear as far as we’re concerned. Sure, there’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but structurally, this guitar is in great shape. It’s easy to imagine this guitar was lovingly wiped down each time it was put back in the case.
There’s magic in this guitar, y’all. Every time we pick it up, we can feel Memphis Minnie’s spirit enter the room. This guitar sounds fearless. It’s a survivor. This is a guitar that could inspire you to run away and join the circus, transcend genre and gender, and leave your own mark on music history. As a guitar store, watching guitars pass from musician to musician gives us a beautiful physical reminder of how history moves through generations. We can’t wait to see who joins this guitar’s remarkable legacy.
SOURCES: blackpast.org, nps.gov, worldmusic.net, historylink.org, Memphis Music Hall of Fame, “Memphis Minnie’s ‘Scientific Sound’: Afro-Sonic Modernity and the Jukebox Era of the Blues” from American Quarterly, “The History of the Development of Electric Stringed Musical Instruments” by Stephen Errede, Department of Physics, University of Illinois at Urbana-Champaign, IL.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.
